Penmanship: something we all learned in school, forgot, and don’t think about anymore due to the advent of the computer. Very few jobs today require good penmanship. What might surprise you is how important penmanship was in the CD store days.
In the early days, buying and selling used CDs, we maintained a manual log. Every CD we bought was logged, along with the seller’s name and identification. Every CD had to be named. We couldn’t just write down “15 CDs”. You had to write down each title. “Puff Daddy – No Way Out”, “Dance Mix ‘96”, “Titanic OST” (original soundtrack), and so on.
One of my staff had very, very “girly” writing. You know what I mean – each letter looks like a balloon animal. It was mostly readable, but apparently not to the police detective who used to collect our log books.
“Can you read this?” he would ask me, trying to make a point. “Can you please tell this person to print legibly?”
“Well, I did speak to her about this a few times. That’s her handwriting, that’s about as neat as it will get. She really is trying.” The detective was not happy.
One afternoon, he called me, really pissed off. He had absolutely had it with the bubbly balloon writing. He asked me to read off every single title that this person had written down in the log. Admittedly there were a couple that I could not make out. He went through this exercise largely just to make his point. He did it again the following week. He picked the longest page from the log book that he could find, and I painstakingly read every title to him, one by one.
“Are you sure about that last title?” he would interrupt. “You say it says ‘Metallica’? That’s an M?”
Then a week later, we went through the same exercise again. He made his point. Eventually we switched to a computerized log system, which they had been pushing us to do for a while. That at least ended the long phone calls with the detective, trying to read the girly balloon letters.
My own handwriting is pretty shit, but according to him it was better than big balloon letters!
AN INTERNET FIRST:LeBrain and theHeavy Metal OverloRd have combined forces to bring you our very first co-review! We have chosen the rare album album byFunky Junction — a little known outfit better recognized under the nameThin Lizzy! Perhaps you have heard of them.
For the purposes of this review,LeBrain will be in black and HMO will be in blue.
FUNKY JUNCTION – Play a Tribute to Deep Purple (1973 Damont)
HMO: I like a challenge. Ever since hearing about Mike’s “Holy Grail” list of rarities I’ve been determined to find some for him here in Scotland. Given that I’m Scottish, this obsession with Holy Grails probably makes me Sean Connery to his Indiana Jones. Or something like that. At any rate, I’ll be calling him “Junior” from now on. I saw this record in Glasgow’s Missing Records and, knowing the hidden Thin Lizzy connection, I emailed Mike to see if he had it. He replied that it was on his Holy Grail list! Ya dancer! On closer inspection, however, the shop-copy looked too scratched to be worth even the £2.50 asking price. But the discovery gave me hope that I might find a better copy for him online… and here it is!
LeBrain: The band on the front cover wasn’t them. Their names appear nowhere on the LP packaging. All we’re told on the record jacket is that Funky Junction “are an exciting new group that has the pulse of today.” But for all intents and purposes, Funky Junction was Thin Lizzy:
Phil Lynott – bass guitar
Brian Downey – drums
Eric Bell – guitar
Benny White – vocals
Dave Lennox – keyboards
Since Phil Lynott couldn’t sing Ian Gillan’s high notes, and since Thin Lizzy didn’t have a keyboard player, the band hired members of another Irish group called Elmer Fudd to record the album, which they did in one day!
“Fireball” is one of my favourite Deep Purple tracks. Even though Eric Bell referred to singer Benny White as an “Ian Gillan” clone, I don’t hear that at all. A Rod Evans clone, perhaps. “Fireball” is largely based on the drums, so we’re in safe territory here. Brian Downey is one of the few drummers who could give Ian Paice a run for his money in 1973. Not a bad cover I suppose, if you’re eager to hear was “Fireball” would have sounded like with Rod Evans singing.
Totally agree with you on the singer. The guy is so Rod Evans he was probably wearing gold lamé trousers while he was singing this. It’s an ok version in a “pub covers band” sort-of way. Brian Downey’s drumming is impressive, Phil’s bass solo… not so much.
“Dan” (credited to the German business man, Leo Muller, that conceived of and financed this project) is brief guitar instrumental. It’s supposed to sound like “Danny Boy” in a Hendrixian style, and I suppose that’s the right ballpark. Eric Bell fans will dig it, but as a song…next!
I like Eric’s tone here but it’s a lazy arrangement: just playing the melody and wanging his bar every now and again. It’s definitely the most Lizzy-esque song here though.
Funky Junction settle into a light groove on “Black Night”. This is a pretty faithful cover. What I like about this performance is Eric Bell’s way of improvising his own guitar solo within the style that Blackmore set for this song. The organ solo however is pretty caveman by comparison to Jon Lord. Pretty stock cover.
I’m actually fairly impressed by how faithful this one is, and a good approximation of the sound too. Eric Bell and Brian Downey are still the classiest acts here but it doesn’t have anywhere near the edge of the Purple original. Still, one of the more enjoyable outings here.
I like that I can hear Phil Lynott’s personal bass style on “Palamatoon” but the lame keyboards sound out of place on this album. I don’t know how to describe this instrumental original except to say that, as usual, Eric Bell’s soloing is a highlight.
It’s cool to hear Phil on this. His bass line reminded me of “Little Girl in Bloom” a bit. It’s just a shame that this tune is so bad. It’s like Emerson Lake and Palmer but pissed as farts. John Peel once described ELP as “a waste of talent and electricity”. He was wrong. But this song definitely is.
“Strange Kind of Woman” is pretty limp. Once again, if you were eager to hear this Purple classic performed by a Rod Evans clone, this is the one. Downey and Bell are the highlights of a pretty dull performance.
I’m finding the Rod Evans factor to be one of the more interesting aspects of this. If it wasn’t so workaday you could almost imagine these are some long-lost Deep Purple sessions from before they gave poor Rod the heave-ho. But apart from the “what if?” fantasising… dull.
Side two commences with the Deep Purple Mk I hit, “Hush” (actually a Billy Joe Royal cover). I find this one irritating. The singer’s enunciation bugs me. Deep Purple decided to anchor their version with a long keyboard solo. Unfortunately Funky Junction struggle to make their solo as interesting.
I think I liked this one more than you, Junior. This and Black Night are the two best Purple covers here. Not very inspiring on record but if they were playing it live at a pub I think I’d get into it. Benny sounds totally at home here, finally giving it the full, glorious Rod Evans. Probably with bouffant hair and a frilly shirt now too! Gaun’ yersel’ big man!
Even though we all know “Rising Sun” is a cover of “House of the Rising Sun” (a traditional), here Leo Muller takes songwriting credit! I hope he enjoyed what little royalties he earned from the meager sales of this LP. This is another instrumental cover, with a snooze-inducing ending.
Cheeky scamp that Leo Muller, eh? I’m surprised he didn’t just change his name to Traditional and watch the money flood in. Nice sound and a decent performance on this song but mostly goes in one ear and out the other.
I appreciate that Funky Junction chose to retain that noisy, messy intro to “Speed King”. I’m afraid that of all the songs, “Speed King” suffers the most from the inadequate singer. Fortunately the Lizzy guys are talented enough to play the tune properly.
Everything we’ve mentioned previously seems to work against them on Speed King. The caveman keyboards, the tameness. And the poor Rod Evans impersonator sounding like all your worst Karaoke nightmares (but with the added embarrassment of those trousers). It’s cool that they included the noisy intro (I think Leo Muller wrote that) but this is the worst Purple version here by a good margin.
“Corina” closes the album, a vocal track credited to Muller. It’s a cool blues that fits in with a Deep Purple Mk I vibe. I don’t mind this track too much. It’s nothing special but at least it’s not overshadowed by a superior Deep Purple version.
An OK boogie. It’s still making me think of pubs mostly. The lead guitar is the best thing about this one.
2/5 stars. Recommended primarily to fans of Eric Bell.
2.5/5 stars. I agree with Mike but I’m going to throw in an extra half-point because I thought the Rod Evans impersonator was a hoot.
“Fireball” (Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Paice)
Without further adieu, I present to you the Top 75 songs from this year’s Countdown. Only a handful of my songs made the Countdown this year: Sound City Players‘ “Your Wife is Calling”, Black Sabbath‘s “Damaged Soul”, “Hush” by Deep Purple, Dio‘s “Rainbow in the Dark”, and “Stonehenge” by Spinal Tap.
DEEP PURPLE – Made In Japan (2014 limited edition Super Deluxe box set)
“Smoke on the Water” Japanese 7″ promo. This is a reproduction of a rare Japanese promo single from 1972, sleeve and all. It is pressed on heavy 70 gram vinyl, a treat indeed. It features the promotional single edit of the studio version, and an edit of the Made In Japan version on the other side. The studio edit is available on plenty of releases, such as Singles A’s and B’s. The live edit is one that I don’t think I owned prior to this. I actually enjoy something like this; it’s interesting to see where and how they did the edits, from a technical point of view.
Including a 7″ single in a box set of this size is something I wholeheartedly support. Not only do I love the vinyl format, but when you spend this much money ($115 Canadian) in one place, you deserve something extra. A lot of the stuff included in box sets these days, even in this box set, amounts to nothing more than paper. Music trumps packaging, so I’ll always take something like a bonus vinyl, especially when it has an exclusive track on it.
Interestingly, on this printing, the times for the two tracks are reversed. The live version is the longer, not the shorter as the label suggests.
DVD: Made In Japan: The Rise of Deep Purple MKII and more.
This hour-long documentary consists of new and archival footage and interviews, assembled into a narrative. Old footage of Deep Purple MKI begins our story. The shortcomings of this lineup led the core members of Ian Paice, Jon Lord, and Ritchie Blackmore to seek new bandmates. They had gone as far as they could musically with Nick Simper (bass) and Rod Evans (vocals). In stepped Roger Glover and rock’s greatest screamer, Ian Gillan. Then, the big albums: In Rock, Fireball, and Machine Head.
Strangely, it was a tax loophole that led to Machine Head. It was expected that the fortunes of the band would only rise, but British tax laws would keep them all paupers. If they became tax exiles, and wrote and recorded in mainland Europe, they would not be taxed. This led them to Montreux, Switzerland. According to Claude Nobs, they were planning on recording an album called Made In Switzerland. Nobs invited them to record at the local casino, and the circumstances of this have been well documented. A Frank Zappa concert that night was attended by Deep Purple and Nobs. Someone fired a flare gun into the bamboo ceiling, and the place went up in smoke. This DVD has the audio of Zappa asking the audience to leave!
The place did indeed burn to the ground. Luckily Deep Purple had not yet moved in their gear, or it too would be gone. Next they tried recording in a small theater, but noise complaints caused them to move again. It took almost a week to find the Grand Hotel, which was closed for the winter. Perfect. The results speak for themselves. Machine Head is the classic Deep Purple album. But according to Blackmore, it was Made In Japan that made them a phenomenon. It was a live album that they didn’t want to do, but could not have regretted doing.
Bruce Dickinson, James Hetfield, Lars Ulrich, and more show up to discuss the impact of Made In Japan on themselves. Dickinson points out that the remarkable thing is that Made In Japan is 100% live. There are no overdubs. Martin Birch managed to capture it raw. There’s a lot of great footage here; live footage, showing the interplay of the band.
Next, the band headed to Rome to record the difficult Who Do We Think We Are.Made In Japan had not even been released in America yet, only Japan, until mass importing of the record forced the label to release it. Unfortunately at the height of their powers, Ian Gillan and Ritchie Blackmore had a massive falling out. Ian resigned. Blackmore and Paice almost formed a trio with Phil Lynott. Glover was fired, which was a condition Blackmore set to stay in Deep Purple. A final Japanese tour was the last commitment of the band. Glover describes a cold atmosphere, and the tension in the air.
Glenn Hughes appears next, remembering a Trapeze gig attended by members of Deep Purple. He sussed out the reason for their attendance. Still, he did not expect to be asked to join. It was an emotional time for Glover. He saw his Deep Purple albums on top of the charts, yet with magazines printing pictures of their new lineup featuring David Coverdale and Glenn Hughes. Hughes reveals he was mistakenly sent awards for albums like Who Do We Think We Are. Glover felt deeply hurt but strove to be a professional.
As a Deep Purple fan who owns a lot of Deep Purple on video, I enjoyed this documentary. Although it has some footage that I had before, it also had a lot that I didn’t, such as interviews that were new to me. Footage from Japan is a highlight. “Smoke on the Water” is presented almost in full (from the 17th), though it is very lo-fi.
Extras include a music video for “Smoke on the Water”, made up of footage from the documentary. “The Revolution” is a short film about rock music and counter-culture, focusing on Deep Purple while at Montreux in 1971. Much of this footage is in the main documentary. A bearded Gillan rips his way through “Speed King”, and the band are interviewed. There’s also a short German documentary from 1972, subtitled of course. I enjoyed the description of their stage attire: “intentionally scruffy hippie uniforms”. Finally, there is a 1973 performance of “Smoke”, but now I’ve really heard the song too many times. It’s the best footage though: full colour, pro-shot. Roger is wearing bright red platform shoes.
This DVD was adequate. The main documentary feature was re-watchable. “The Revolution” and the German doc, not so much. It’s too bad that the video content is only tangendentally related to Made In Japan. The DVD is really not much more than a supplement to the main feature.
Final words: The box set is rounded out by an excellent booklet, a reproduction of the Japanese tour program, a family tree, and a reproduction press release. Ultimately these things are just pieces of paper. Nobody would go out of their way to buy a reproduction of a press release.
As a boxed set of music, Made In Japan is a home run. This is the way they should have released it back in ’93, instead of the incomplete Live In Japan. I’ll hang onto my old 2 CD anniversary edition of Made In Japan, because I believe in keeping the original mix of something. It’s an historic piece, not to be discarded. When I want a briefer Deep Purple live experience, I’ll play that version of Made In Japan. When I want the full Monty, I’m listening to this box set. Not only is it the best release sonically, but it is the only complete release of all three Japanese shows.
As a celebratory boxed edition of a classic, I’m less satisfied. The DVD and the papers inside are things I will get less enjoyment from. If the DVD had included a feature on the making and remixing of this edition, I would have been more interested.
DEEP PURPLE – Made In Japan (2014 limited edition Super Deluxe box set)
Disc 3: Tokyo, August 17 1972. Finally we arrive at the third night. The band were comfortable by the time they hit Tokyo, but the sound from the venue wasn’t as desirable as the two nights in Osaka. That’s the main reason that most of the Tokyo show was not used on Made in Japan originally. Yes, sonically this is not as crisp nor clear. It seems like a noisier mix, with Gillan’s voice more difficult to make out. However, we have heard plenty of Deep Purple recordings worse than this, and this is still Deep Purple MkII at the top of their game.
The band tune up and say hello before “Highway Star”, a quaint reminder of the way concerts used to be compared to today. Like the other two renditions of “Highway Star”, this is an electric performance. Jon’s organ solo was the highlight for me, Ritchie’s blistering frets notwithstanding. Gillan tells the crowd that the song is about somebody named “Fat Larry” and his automobile.
“Smoke on the Water” begins with Ritchie teasing a bit of “God Save the Queen”. Jon and Ritchie fall out of sync a bit in the beginning of the song, but they quickly lock back into place. Of the three, this is my favourite version of “Smoke on the Water”, just because it is different. The band are looser and willing to play around a bit more. Blackmore’s solo is a highlight as he travels all over the musical landscape.
Always epic, “Child in Time” is greeted by polite applause, a true show of Japanese appreciation. While the August 16 Osaka version may well be Uncle Meat’s favourite because of the guitar solo, I think this one is pretty special due to Jon’s keys. Either way, we’re splitting hairs here. It’s “Child in Time” performed live in Japan in 1972! To talk about favourites at this point is to be speaking in nanometers.
“The Mule” has an entertaining intro; Ian Gillan tells the monitor guy, “Can we have everything louder than everything else?” This is the version from the original Made In Japan. The intro was so legendary that Lemmy paid homage on the live Motorhead album, Everything Louder Than Everyone Else. The song goes absolutely mental at the 2:20 point, before Ian Paice breaks into his drum solo. Not a lot of drummers are interesting to listen to soloing for five minutes. Paicey is.
“Strange Kind of Woman” is another track that is never exactly the same twice. Gillan and Ritchie improvise together, a reminder of a day and age when they (mostly) got along. It’s hard not to smile. According to Ian, this song is about “Terrible Ted” and his “awful lady”.
Diving into newer material from Machine Head comes “Lazy”; always interesting since it too relies on a lot of improvisation. This is the version used on Made in Japan originally, and Jon’s solo (dipping into “Louie Louie”) is familiar and fun. That Hammond howls, and then Blackmore enters. This is one more Deep Purple long bomber. The vocal doesn’t even start until six minutes in!
Finally, “Space Truckin'”. One more amusing song intro: Ian says that this song is about what would happen if space travel and rock and roll ever met, which has not happened. Therefore, this song does not exist. But it sure does slam! The crowd clap along, obviously into it. I love every pick scrape, every drum roll, and every scream. Deep Purple can simply do no wrong at this point. The only flaw is distracting audience (or perhaps crew) noise. You can hear people speaking Japanese around the 13:00 mark.
Disc 4: Encores. This CD comprises all the encores from all three shows. “Black Night” was played first, at all three shows. “Speed King” was played twice, on the 1st and 3rd nights. On the 2nd night the band played Little Richard’s “Lucille” at absolutely breakneck pace. For many years, these encores were largely unavailable. “Black Night” from the 3rd night in Tokyo was released (edited) as a B-side, and then re-released on many compilations such as Power House (1977). The other encores didn’t receive release until the 90’s or later. Now, finally, all the tracks from Japan are collected in one set. I could barely keep track of where to find all the songs from the Japan shows, spread as they were over multiple releases. Now it’s all in one place, as it should be.
After tuning up, Blackmore noodles for a bit. Then “Black Night” crashes to a start. This song is almost a respite for the audience, after a track like “Space Truckin'”. If you remember from Part 1 of this review, Gillan had a case of bronchitis that he was recovering from. He couldn’t stand his performance on the 15th, but you’ll be hard pressed to tell on “Black Night”.
Ian says “good luck, good night,” but it’s just a clever ruse. Much applause results in a return and a noisy take of “Speed King”. There’s quite a bit of feedback, sour notes and noise coming from the guitar. Blackmore was either struggling with it, or abusing it. A knackered Ian Gillan is out of breath at times.
The second version of “Black Night”, from the 16th, is quite different. It’s quite ragged and feedback-laden, and this version reveals human errors that, to me, only add to the live experience. Deep Purple were taking things over the top at these concerts, and sometimes things fall apart. It’s rock and roll.
Once again, the applause of the audience brings Deep Purple back to the stage. Their insane cover of “Lucille” was a pleasant surprise. Deep Purple had been playing this for ages, since Gillan first joined the band. Another version (from London) can be heard on In Concert ’72. That is probably the superior version, though this is no slouch. Almost half of it is just intro! It is stretched over eight minutes. It keeps getting faster and faster, until they’re playing at Ludicrous Speed.
The final show in Tokyo is sonically different, as mentioned at the start of this review. That’s most obvious on this CD when you go straight from Osaka to Tokyo. This time, Deep Purple are introduced in Japanese, before Ian asks for the monitors to be turned down. This is the version used on B-sides and compilations numerous times before, and it is my favourite, probably due to familiarity. This mix allows Jon’s organ to shine a lot better. It is also unedited, which of course is a bonus.
And finally the journey ends with “Speed King”. The band tune up for the last time in Japan, and dive in. Once again, they’re off the rails. I don’t know where Gillan got the energy. Even though he’s tired, he’s still wailing. Jon Lord’s solo is especially enjoyable. I’m exhausted by the end of it. This has been a lot of Deep Purple to digest. But we’re not done yet.
DEEP PURPLE – Made In Japan (2014 limited edition Super Deluxe box set)
Giving you the kind of detailed review that you have come to expect from me is no mean feat when it comes to a massive set like this. This 5 disc (plus 7″ single) Made In Japan reissue was an epic undertaking to absorb. Just as much as reviewing Machine Head‘s 5 disc deluxe edition last year was a huge task, Made In Japan was its equal!
Because of this, I’ve decided to split the review into three: Today we’ll look at the first two CDs. Then the third and fourth CDs, the DVD, the 45, and everything else. Enjoy this first installment.
Disc 1: Osaka, August 15 1972. “Good morning!” jokes Ian Gillan as the band arrive on stage. A few moments of quiet as the band plug in and strum, and then…the opening drum beat to “Highway Star”. The first of three shows has begun!
Gillan says he was suffering from bronchitis on this first night, and you can indeed hear a bit of extra rasp in the man’s voice. Gillan says he hates these performances, but I think the extra rasp only adds to the furious “Highway Star”. Both Ritchie Blackmore and Jon Lord are on fire, ripping through their parts with great aggression. Blackmore makes a few mistakes during the solo, but who cares? Right from this opening salvo, you can hear the nuances and details of this new remix. Reading the liner notes, you realize that the biggest difficulty in remixing this album was that everything was bleeding through Gillan’s vocal mike. I’ll be damned if it tarnishes the listening experience though.
Before you can catch a breath, “Highway Star” has ended and they’re into “Smoke on the Water”, which had yet to become the classic concert favourite that it is today. Ritchie plays around a bit on the intro, as the crowd claps along. Clearly, they know the song. “Smoke” lacks the furious energy of “Highway Star”, but it is still an incredible performance. Once again, Ian Gillan’s raw voice only adds to the experience (but it’s not even that bad). “Smoke” is the only track from this show that was used on the final album Made In Japan.
Ian introduces “Child in Time” as a “sad story”, but nobody was mourning that night in Osaka. One thing I enjoy about “Child in Time” is that it is never played the same twice. Jon in particular changes up his opening melodies all the time, and this version is quite different from the one they debuted a mere three years prior at the Albert Hall. Somehow, bronchitis and all, Gillan still manages to scream his way through this monster. At times, Ritchie’s solo sounds like it’s drifting into “Lazy”.
According to Ian’s intro, “The Mule” is a song about Lucifer. This track from Fireball is essentially an excuse for Ian Paice to do a five minute drum solo. Nothing wrong with that; it’s Ian Paice after all. Gillan’s voice is a bit shaky at times, but I think that only adds to it. I enjoy that Allmusic refers to “The Mule” as an instrumental, proving once and for all that they don’t know what they’re talking about.
It’s all long-bombers from there. “Strange Kind of Woman” is extended with Ian and Ritchie’s usual interplay, and a gonzo guitar solo. “Lazy” is never short, nor is “Space Truckin'” which exceeds 20 minutes (complete with flubbed lyrics). They are all stellar. I found the intro to “Lazy” quite enjoyable, because after a brief noisy organ bit, Jon teases the crowd by stopping. It becomes dead silent for long enough that you’ll wonder if the CD stopped. That’s something you never hear on a live album these days; a silent crowd. Before “Strange Kind of Woman”, Ian begs the audience for a few moments to tune up. It pays off in the end, he says! All this talk is preserved on the box set version of Made In Japan.
I found the remix on this disc to be great. I love that I can hear every conga on “Space Truckin'”. I haven’t played my old 3 CD remixed Live In Japan (1993) set in a few years, so I haven’t compared the two mixes, but this is so good, I don’t really have a reason to play Live In Japan anymore.
Disc 2: Osaka, August 16 1972. Once again, “Highway Star” gets the proceedings off to a bang. Gillan’s voice is still raspy, but a new day has given it strength. The band sound more confident, as if they lacked any in the first place. It is, after all, the second Osaka show that made up the bulk of the original Made In Japan album. Once again, the remix is a joy. I believe in hanging on to an original mix of an album, that’s just the way I am. The original Made In Japan might not sound “better”, but it is an historical document of the circumstances of its making. It has its own sonic charm, and I think both can co-exist happily in my collection. (The ’93 mix, I’m afraid, will be retired in favour of this new 2014 mix. Interesting how they remix this album every 21 years.)
Not actually Made in Japan
Once again, “Highway Star” is followed by “Smoke on the Water”. Ritchie plays with the opening riff, but in a completely different way from the first concert. Later on, there’s a couple bum notes, and perhaps that’s the reason they used the version from the day before on the original album. The solo is a little loose too.
“Child in Time” is the adventure that it always is, and this version is familiar because it’s the one from the original Made in Japan. The song is truly a rollercoaster; that word applies here as well as any other. There are times it feels like it’s coming off the rails, but Glover and Paice keep it locked. Uncle Meat tells me that the original Made in Japan is his favourite live album “of all time.” (Perhaps it is also one of Dream Theater’s, since they did a song-for-song cover of the album.) Meat also says this is the “greatest guitar solo of all time,” right here on “Child in Time”.
“The Mule” was not used on the album; instead the version from the next night (in Tokyo) was selected. Same with “Lazy”. “Strange Kind of Woman” and “Space Truckin'” from this concert were used on Made in Japan. I couldn’t tell you why “The Mule” wasn’t used, it sounds great to me.
I very much enjoyed Ian’s “Strange Kind of Woman” intro. After explaining the song’s inspirations Ian says, “Why I’m talking such a lot is ’cause, like, we gotta tune up again…’Cause there’s a big time change from England you see, and the guitars are still not recovered from it.” After they are all tuned, Ian drops his famous line, “I have to announce that next week, we’re turning professional.” Through to his ungodly ending scream, “Strange Kind of Woman” is a corker.
Lord’s organ intro to “Lazy” is different from the first night, but just as interesting. “Space Truckin'” is the familiar version we know and love from the original Made In Japan, and it’s still astounding how this band could jam! Who cares that Gillan’s “Yeah, yeah yeah yeah!” is flat. That’s part of the action!
We’ll stop here for now, and pick up the rest tomorrow. Already, it’s apparent why a comprehensive set like this one was necessary. It’s because even if the setlist is the same, Deep Purple never play the exact same concert twice. Some of Ian’s song intros are by rote, but that’s where the similarities end. Deep Purple weren’t content to crank out the same jams and solos night after night, and that’s why a box set like Made In Japan is an important document of this band in their prime.
Thanks to Amazon, this arrived today. Only a week late, but for free shipping I won’t complain too much. When a parcel comes packaged inside not one but two boxes, you know it’s big. And this sucker is heavy. 5 discs, with two huge books inside. I can’t wait to dig in.
DEEP PURPLE – “Knocking at Your Back Door” / “Perfect Strangers” (1984 Polydor 12″ single)
What a find this was. While Simon Robinson has kept Deep Purple’s catalogue largely available on CD in lavish packages, here’s an oddity that has slipped through the cracks. Granted, interviews are fairly low on my collecting priority list. When something like this falls in your lap, you still gotta bite.
I got this limited edition (#9240/????) at an old used music store in Uptown Waterloo. I cannot remember the name; perhaps a kind reader will remind me. They were technically a “Christian” store but still carried music of all varieties. This 12″ was sitting on their shelves (price long lost) and I snagged it. The A-side contains not one but two hits, and the B-side, in depth interviews with all five Deep Purple members. All was harmonious in Deep Purple, coming off the high of making the album Perfect Strangers and embarking on a successful tour. The dischord did not return until The House of Blue Light. Therefore these interviews reflected a rare time of excitement and positivity for the short-lived Deep Purple MkIIb.
First, the music: To get both awesome singles from Perfect Strangers on one 12″ is handy! These are two of MkIIb’s best tracks, if not the two best tracks, period. By the end of the A-side, my mind is already blown by the grandiose, intelligent, classic sound of Deep Purple. Of note, these are the full length tracks, not single edits.
The interview side is helmed by Tommy Vance for the Friday Rock Show. Each member is interviewed separately, which is how it should be for Deep Purple. The amiable Jon speaks for 10 minutes, recalling Deep Purple history, particularly the very early years. They also discuss Jon’s few writing credits on the new album, a potential pot-stirring question. Ritchie Blackmore then reveals he doesn’t mind giving up being “the” leader of a band (Rainbow). Ritchie claims the hardest part of being the leader of a band was “trying to find the perfect member”. He sounds excited when discussing Deep Purple’s on-stage chemistry. Meanwhile, Roger Glover sounds like he’s eating a bag of crisps. He also sheds light on the early stages of the reunion, and the things they discussed to make it work. I enjoyed Ian Paice’s interview most; he dismisses what was going on in 80’s pop music as “a fashion show”. He proclaims that his goal for the reunited Deep Purple was to bring back a little bit of class to rock and roll. In my mind there is no question that they succeeded. Finally, the singer: Ian Gillian is soft-spoken and optimistic. He too is glad to have shed the responsibilities of being the leader of a solo band.
If you’re a Deep Purple collector and you find this record sitting on a shelf for a reasonable price, do not hesitate. Tommy Vance asks probing, intelligent questions and the result is an interview disc that will enjoy listening to more than once.
RECORD STORE TALES Part 295: That Damn Phone Again!
Getting phone calls from simpletons is part of every day life when you work in a store. I’m sure you’ve had dozens of your own that you could share for a chuckle, if you’ve ever slaved over a hot cash register for a living. That’s to be expected. Another thing that grinds your gears is the repetition of certain questions. I would say on average, these would have been my five most common questions over the phone:
1. “When do you open/close?”
2. “Do you have (artist), (title)?”
3. “How much?”
4. “How much can you give me for my (artist), (title) CD?” (We couldn’t do quotes over the phone without seeing the product. This will be discussed in further detail in a future Record Store Tale.)
5. “Do you still have that sale on washer/dryer units?”
That last question was because people often called us thinking we were Sears. Maybe the numbers were similar. I never figured that one out, but it happened often enough!
Perhaps the question that irritated me the most due to its frequency was “Is the owner in?” After several years of hard work he no longer worked in a store. He had an office with his own phone number. This question would come many times a day from friends and business associates. I’d just give them his office number and get them to call there. His office was just in the back of the store, but we had separate store and office lines for a reason. (I remember way back in the old original store, we had one line that was for both the phone and the VISA machine. You couldn’t run a credit card if you were on the phone.)
I was most irritated the time I caught hell for one such call. A friend of his had phoned the store, but he was out of his office. I asked if he’d like to leave a message, and he declined. He did however pepper me with questions.
“I’m coming to town in a few days to visit,” he began. “Can you recommend a good hotel that’s close to him?”
I’ve never stayed in a hotel in my home town in my life. What am I a travel agency? I suggested the Waterloo Inn.
“Are there good places to eat around there?”
The questions kept coming! Did I have the number for the Waterloo Inn? Were there good bars in town to hit? Do I have the address?
This being a friend of the boss, I did my best to answer, but I really didn’t have a clue. Finally the guy hung up, once again declining to leave a message. “Nah that’s OK, I’ll try him at home later.”
So, the next day I got in shit.
“Mike,” said the boss. “A friend of mine called here yesterday looking for me. You didn’t give me the message.”
The frustration boiled inside me. Seriously? “He didn’t want to leave a message!” I defended myself. “He asked me a good hotel to stay in that’s close to you so I suggested the Waterloo Inn.”
I got a lecture on writing down messages. The good news is, his friend never called me for hotel recommendations again!
T-Rev, Wes, Doug and I had a great time at the Toronto Musical Collectibles Record & CD Sale 2014. Trevor came home with some kind of Asian import of Foo Fighters’ In Your Honor with at least a dozen bonus tracks. He also scored a cool silver Grand Funk LP with a round cover. Wes stocked up on Tom Petty vinyl.
My treasures are below. Let’s start with the Japanese imports! Yes, the same vendor was there. I probably cleared out his best stuff last year, but he still had some good ones left for me.
Japanese imports purchased:
Ozzy Osbourne – Under Cover($25 with obi strip intact) I am well on record as not being a fan of this album. But it’s one of only two Ozzy albums that I didn’t own. Finding a Japanese version made it easy to justify for my collection. The bonus track is “Changes” with Kelly Osbourne, but I had that already on the Prince of Darkness box set. This comes with a region 2 DVD.
Europe – Start From the Dark (sealed, $20) I already had this album as a bonus CD within Europe’s Live From the Dark DVD set. The Japanese get two live tracks from Sweden Rock 2004: “Seven Doors Hotel” and “Wings Of Tomorrow”.
White Wolf – Endangered Species (sealed, $20) Last year I bought Standing Alone on vinyl, this year I got Endangered Species! I always liked that song “She.” There are no bonus tracks on it but it’s so hard to find this on CD at all, let alone Japanese.
Paul Gilbert – Get Out of My Yard (sealed, $20) I’ve long been a fan of Paul Gilbert (Mr. Big), and he’s a cult hero in Japan. I know his solo stuff is pretty out there. Although I have tracks of his on guitar compilations, this is the first solo album of his that I have found.
Aerosmith – “Pink” (sealed CD single, $15) In Record Store Tales Part 42, I made fun of the “Barefoot DJ” because he was looking for this Aerosmith dud. Regardless, I’m probably most excited about this CD. If there’s one thing rarer than Japanese CDs, it might be Japanese CD singles. They’re produced in even more limited number. I won’t get all the B-sides for “Pink” on this CD single, but it has plenty of tracks that I believe are exclusive to this disc.
Aerosmith – “Amazing” (CD single, $5 with obi strip intact) I had a domestic copy of this CD with the exact same tracks, just in a different order. I wasn’t sure if I had it or not when I bought it, but for $5 I figured it’s still a win-win situation. It’s in mint condition and I paid a fair price for it.
Other CDs purchased:
Anthrax – We’ve Come For You All (sealed German import, $10) I’ve always wanted this album, and I always promised myself I’d get it if I found an import with bonus tracks for a good price. I have done that now.
Deep Purple – Smoke On My Mega-mix ($5) This is a bootleg. I bought this from the same guy who sold me the Aerosmith “Amazing” single. Years and years ago, there was a Deep Purple compilation LP called Anthology. If you bought that and four other singles, you could mail away for a “Smoke On My Mega-mix” exclusive single. This bootleg has that track, and a whole bunch of other rarities. One such track is Deep Purple Mk V’s “Fire, Ice & Dynamite” which is only on a DVD called New, Live & Rare.
Iron Maiden – Revenge Is Living In the Past (bootleg from A Matter of Life and Death tour, $40) This is a beautifully packaged triple-gatefold live bootleg. One of the few recent tours that Maiden have not released a live album from was A Matter of Life and Death. On that tour, they played the whole album live, and now I have it. It’s really nicely packaged and I’m looking forward to listening to it soon.
One funny story: At record shows, you always find vendors who “know it all”. T-Rev found a CD copy of Kim Mitchell’s self-titled solo EP for $5, but it was burned. Trevor asked, “Do you have the original CD of this? Because if you do, I will buy it.” The vendor swore up and down that no such CD exists. Trevor said, “Yes it does, my buddy has it.” He’s right, because I am that buddy. Here are pictures of my copy of that EP; Amazon are asking over $100 for it, since it went out of print. Photographic proof that it exists below (Wounded Bird CD edition):
Here’s a list of the next bunch of shows. Attendance is pending funds:
London, April 18 2014 (Centennial Hall, 550 Wellington St.)
Cambridge, April 27 2014 (Holiday Inn, 200 Holiday Inn Dr.)
Woodstock, (Nostalgia Show & Sale), May 25 2014 (Woodstock Fairgrounds, 875 Nellis St.)
Ancaster, (Nostalgia Show & Sale), June 22 2014 (Ancaster Fairgrounds, 630 Trinity Rd.)
Mississauga, October 19 2014 (Capitol Cenvention Centre, 6435 Dixie Rd.)
London, October 26 2014 (Centennial Hall, 550 Wellington St.)
All four of us had a blast. In the car, Wes commented, “I don’t think I’ve ever had musical conversations like this before!” Then, I found something out. Last year, Wes gave me a copy of Twisted Sister’s “We’re Not Gonna Take It.” He did this on condition that I rip and email him the tracks. I did that as soon as I got home, only I sent them via Trevor, since I didn’t have Wes’ email.
Wes said he never got them. “I emailed the tracks like a year ago,” I replied. I explained that Trevor instructed to just send them to him, and he’d forward them along. That never happened. Wes said, “All this time I thought it was Ladano’s fault, turns out it’s my friend right here!” and points at Trevor.
This is turning into an annual event. We might make it semi-annual by checking out the October show. I’ll be sure to be you posted!
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